Ciociaria; back, spine & front covers
I was featured today on Susan Burnstine’s wonderful blog underexposure. Susan has recently started providing her interviews that she has previously published in a monthly column for Black & White Photography Magazine (UK) entitled American Connection on her new blog.
The interview by Susan is focusing on the events leading up to my publication of Ciociaria. As you read her other interviews, you will probably note that she has a structure to her interviewing process; from the photographers early beginnings, influences and then the particulars around the project that subsequently evolved into a published book or exhibition. Thus it was a little easier to prepare for our discussion, unlike my live interview with Brooks Jensen, editor of LensWork, in 2008 with the publication of my project In Passing (LensWork #74 Jan/Feb 2008). Susan afforded me the opportunity to provide an edit of the interview before she published it, which was very nice. Actually, it gave me the opportunity to perhaps appear a little more polished than perhaps I am.
I will also have to say that Susan is also a very accomplished photographer, having recently published her own book Within Shadows.
So a very big Thank You Susan!
best regards, Doug
NoWhere Man near Chicago copyright 2011 Douglas Stockdale
A couple of weeks ago while I was passing through the Chicago area, I was inspired to work again on my NoWhere Man project.
Ciociaria copyright 2011 Douglas Stockdale, published by Edizioni Punctum
The short story: my book design is complete (thank you Leonardo & Marco!) and the book is on press.
I guess you could say that I am on the bubble for becoming a published author, eh? Ciociaria now has an ISBN and soon the book will truly be in print. Amazing, but true.
I just received the book’s final cover image, above (draft version here), which is really the cover image on the dust jacket. I had attempted to nudge the publisher to incorporate a casebound book cover, but in the end, it is a hardcover with dust jacket. I had worked with Leonardo to size the title text and noodle the text location such that both the title and my name did not overlap a relatively light area in the Madonna photograph (the photograph was named by Marco upon first seeing it during the book design meeting in July).
We also finalized the interior layout, with a slight tweaking of the image sequencing. In a couple of the two-page spreads I requested that we switch locations of the facing photographs. The reason is that I had requested the change was when there was a two-photograph spread, the photograph on the right page would be printed full bleed, while the facing photograph would have the traditional white margins. Because of the book’s trim size, a couple of the photographs when cropped a little tighter for the full bleed lost something in translation, where as the facing photograph appeared more interesting cropped and full bleed. nice.
The other design element that we had experimented with was selecting a few of the photographs that were a single photograph on a spread and incorporating a full-page bleed. Some of these full-bleed photograhs had some potential but then the pace of the book felt too irregular. Although this design element might introduce a subtle tension to the reading of the book, it was just a little too unsettling for me. So we then we opted for the classic small white margins for all of the single photograph spreads, while for the two photograph spreads, the photograph on the right would be a full bleed. At least viewing the final design PDF, the book design reads really well for me. Now I am impatiently waiting to see the book in print.
Next stop: Rome for FotoGrafia Festival Internazionale di Roma and to see the actual book object. Wahoo!
Best regards, Doug
CA-241 Tollroad, Coto de Coza, California Copyright 2011 Douglas Stockdale
Some may call it serendipity, while Christians would say that this is the quiet voice of the Lord, but an odd chain of events started this last Saturday when I received a unsolicted photobook, Afterwards, edited by Nathalie Herschdorfer, for a potential review on my blog The PhotoBook. As I stated in my review, I am not usually as interested in broad surveys that try to capture thematic concepts. But there was something about this particular subject and the photographers who participated that did ensnare my interest.
And I am glad that I did give it some consideration, as the broad range of projects that attempt to redefine the aftermath of a traumatic event, or as stated by Pascal Vrticka “to show human suffering indirectly through images displaying the aftermath of chaos rather than chaos itself“, lines up perfectly with my earlier In Passing project. I will be returning to this book’s essays very soon, probably after the dust settles with the current events of publishing my book Ciociaria.
One concern that I had with my project In Passing was the subjectivity of the photographs when displayed in color, thus I have converted all of the images to black and white, first with a warm hue and most recently to a more documentary straight black and white. Looking at the various projects in Afterwards that are illustrated with color photographs has captured my curiosity, such that I am now creating color JPEGs of all of the photographs of In Passing for further reevaluation (I don’t think Edward Weston could pull that feat off!). I just need more time to complete the color conversions than I have right now.
So more about this re-development later, eh?
Best regards, Doug